WORKS FROM THE PERMANENT COLLECTION COLLECTION PERMANENT THE FROM WORKS MOUSTIERS CERAMICS GIFTS FROM THE EUGENE V. AND CLARE E. THAW COLLECTION AUGUST 2, 2017 2, AUGUST – JANUARY JANUARY 2 1, 2019 1,

1 industry in France, at Vincennes and then Sèvres, fell under royal patronage and the created MOUSTIERS there was not available for purchase. These decorated tin-glazed ceramics were clearly sought after in their day, as is evidenced by the signatures CERAMICS often found on the wares. They also held an irresistible appeal to collectors starting in the early twentieth FROM THE EUGENE V. century, when eighteenth-century French style was seen as the height of design, for the charm of colorful, AND CLARE E. THAW often amusing depictions of figures and flowers.

COLLECTION The combination of engraved decorative print sources and the connection with textile motifs has been observed by Rebekah Pollock, a graduate of Cooper Hewitt/Parsons School of Design master’s program in This booklet accompanies an exhibition celebrating the History of Design and Curatorial Studies and the the gift of a substantial collection of Moustiers scholar who wrote this booklet’s essay. She shows the ceramics from the Eugene V. and Clare E. Thaw links between Moustiers ceramics and broader French collection, given to Cooper Hewitt from 2006 to 2017. decorative arts using objects in Cooper Hewitt’s other The Thaws received their first piece of Moustiers curatorial departments, making the case for how ceramics as a wedding present from someone whose important cross-disciplinary connections are in the taste and knowledge they admired, and they set out to design field, and how proximity of such collections at explore the varieties of ornament, form, and function the museum helps to make these connections. produced in the town of Moustiers Sainte-Marie, a town in the Alpine area in the southeast of France. We are very grateful to the Eugene V. and Clare E. Their gift to the museum has enabled an in-depth Thaw Charitable Trust for the underwriting of this study of the earthenware, both in materials and in brochure, and for the Thaws’ generosity in giving a context. Moustiers ceramics are not merely spritely collection that was so dear to their hearts. Their most designs in colorful palettes that seem appealing in the treasured pieces came to the museum only a few less formal context of twenty-first-century lifestyles. months before Clare’s death, but Gene was able to In fact, they served on aristocratic tables of the visit and appreciate the exhibition and the research eighteenth century, often replacing silver during the that went into it before he too left us. This brochure reign of Louis XIV (1660–1715). The sophisticated is dedicated to their lasting legacy, of which the print and textile inspiration sources, especially on Moustiers ceramics collection is part. the early pieces, would have been appreciated by the educated clientele at whom they were aimed, but the ceramics’ color and choice of subjects would have Sarah D. Coffin Plate, ca. 1750; Manufactured by Olérys and Laugier’s factory (Moustiers Sainte-Marie, France); appealed to all. The ceramics continued to be popular Curator and Head, Product Design and Decorative Arts Decorated by Joseph Fouque (French, active 1739); Tin-glazed earthenware; H × diam.: 3.2 × 25.4 cm (1 ¼ in. × 10 in.); Gift of Eugene V. and Clare E. Thaw, 2008-40-3 later, during a time when the newly created porcelain Cooper Hewitt, Smithsonian Design Museum

2 3 ENTERTAINMENT FOR THE TABLE: but also supported a national industry and patriotically THE WHIMSY AND LUXURIANCE OF demonstrated one’s commitment to the king’s military FANCY OF MOUSTIERS CERAMICS program. Entrepreneurial pottery owners pursued regional clientele, as evidenced by dining services with REBEKAH S. POLLOCK the arms of influential Provençal families. A wineglass cooler (fig. 1) produced at the Olérys and Laugier factory of Moustiers was part of a larger service commissioned How did the small village of Moustiers Sainte-Marie, for Jean-Baptiste Victor de Rochechouart, Marquis de dramatically perched on the cliffs of the Alpes-de- Blainville (1712–1771), who lived in southeastern France. Haute-Provence, become one of France’s major centers The Rochechouart family is one of the oldest noble lines producing —tin-glazed earthenware—during in the country, and its members were well connected the eighteenth century? Its success can be attributed at the royal court. The Marquis was the nephew, once partly to the natural resources of the region: fresh removed, to Madame de Montespan, mistress to Louis water, good clay for potting, and abundant wood to fire XIV. The Olérys service shows his arms with the chivalric in kilns. Moustiers pottery decorators fueled demand by Order of Saint Louis. Even with his royal connections, the developing motifs that would become widely imitated Marquis ate from faience. Jeanne Antoinette Poisson, Fig. 1. Wineglass cooler-rinser or confiturier (jam pot), 1739–49; by other factories. Using grand feu (high-firing) colors Marquise de Pompadour, the mistress to Louis XV and Manufactured by Olérys and Laugier’s pottery factory (Moustiers Sainte- Marie, France); Possibly decorated by Jean-François Pelloquin (French); Tin- derived from metal oxides, decorators painted these an influential patron of the arts, owned a and white glazed earthenware; H × diam.: 10.7 × 10 cm (4  × 3  in.); Gift of Eugene V. and Clare E. Thaw, 2006-27-11 motifs onto a white surface—often compared to a blank service produced at the Clérissy factory decorated canvas—created by the tin glaze applied to the clay. with her personal armorial of three towers. A dish from Faience decorations were drawn from print sources, and this service is in the collection of the Musée national were partly inspired by and coordinated with chintz— de Céramique de Sèvres. Nearly four hundred pieces Indian cotton fabrics with white grounds being produced of faience were listed in an inventory drawn after the for the European market and used in interiors. The Marquise’s death in 1764.1 Tin-glazed earthenware is enormous popularity of cotton threatened the French sometimes viewed as the provincial cousin of porcelain, Fig. 3. Print, Design for Grotesque Ornament, ca. 1680; Jean Bérain the Elder silk industry, prompting the ban of imported chintz from but it is evident that in the early eighteenth century, (French, 1640–1711); Etching and engraving on white laid paper; 38.6 × 24.3 cm (15  × 9  in. ); Bequest of Marian Hague, 1971-71-5 1686 to 1759. During this time, the decorative repertoire when the European porcelain industry was in its infancy, of Indian chintz motifs—flowers, insects, and exotic the most elite and influential figures chose faience figures—appeared on faience from Moustiers. as a fashionable luxury through which to distinguish established other factories, contributing to the rise of themselves. faience in the region. A footed tazza based on a silver When King Louis XIV issued a series of edicts requiring form (fig. 2) shows a light and airy decoration in the French nobility to melt their silver services to fund The Clérissy factory at Moustiers achieved a degree style of Jean Bérain the Elder (1640–1711), a designer the nation’s war efforts (from 1689 to 1709), faience of technical excellence that ranks the factory among and engraver whose influence can be traced across manufacturers were quick to provide elegant ceramic the greatest French faience at the turn the French decorative arts. Bérain’s compositions services to fill the void. France had not yet learned of the eighteenth century. The factory, founded in of delicate interlacing grotesques were adapted the secret to making porcelain, and imported Asian 1679 by Pierre Clérissy (ca. 1651–1728), employed for monochrome blue at the Clérissy were so expensive as to be limited to royal talented decorators, many of whom later migrated and manufactory beginning in 1710. Pouncing, a technique Fig. 2. Tazza, ca. 1720; Style of Jean Bérain the Elder (French, 1640–1711); Manufactured by Clérissy Factory (Moustiers Sainte-Marie, France); Tin-glazed and aristocratic collectors. Members of the nobility of applying a pattern by piercing a paper with small dots earthenware; H × diam.: 6 × 30.5 cm (2 ⅜ × 12 in.); Gift of Eugene V. and Clare E. Thaw, 2008-40-5 and other wealthy patrons chose faience, a more and rubbing loose charcoal into the holes to transfer 1 Jean Cordey, Inventaire des biens de Madame de Pompadour, rédigé après accessible material that not only resembled porcelain, son décès (Paris: Lefrançois, 1939), 34–35. a design onto clay, was used in decorations based on

4 5 print engravings. The intricate designs and fantastic figures in Bérain’s grotesque designs (fig. 3) have counterparts in Clérissy faience, which was widely admired and copied by French manufacturers in Marseille, Lyon, and Nevers, as well as in Spain and . Because of the motif’s popularity and the rarity of signed pottery, it can be difficult to attribute Bérain-style faience to a particular factory; it is the exceptionally fine lines and control of the blue glaze that distinguishes the pottery of Clérissy. A pair of wine coolers (fig. 4) display a network of decorations as crisp as their probable sources—Bérain engravings appear in a palette of blue and white inspired by Chinese porcelain.

With the increasing trade brought by the Dutch East India Company (Verenigde Oost-Indische Compagnie) and British East India Company, Asian porcelain imports

grew in Europe, influencing local production. Dutch Fig. 5. Vase (Delft, ), ca. 1700; Tin-glazed earthenware; 32.5 × 15 manufacturers of tin-glazed earthenware—called × 15 cm (12  × 5 ⅞ × 5 ⅞ in.); Bequest of Walter Phelps Warren, 1986-61-34 in the Netherlands and England—copied the imported porcelain and developed original lace-like patterns resembling panels of drapery (fig. 5). This broderie motif (later called lambrequin) comes from Baroque textiles and silver designs, and was quickly adopted by French ceramicists. The Saint-Cloud factory, located near Paris, produced artificial porcelain (“soft-paste porcelain”) with delicate geometric ornaments that drew on the broderie and Bérain motifs, as can be seen in a pomade pot (fig. 6), whose monochrome cobalt blue palette echoes Chinese porcelain. The faience center of Rouen, in Normandy, developed a distinct radiating (rayonnement) version of the motif with a pioneering blue and red color scheme that imitated , a type of Japanese Fig. 6. Pot à fard (toilet jar: pomade pot and lid), 18th century; Manufactured porcelain exported to Europe in the second half of Fig. 4. Pair of wine coolers (seaux à bouteilles), ca. 1730; Manufactured by One of a pair of urns, ca. 1750; Manufactured by Olérys and Laugier’s pottery by Saint-Cloud Porcelain Manufactory (France); Soft-paste porcelain, with blue Clérissy Factory (Moustiers Sainte-Marie, France); Tin-glazed earthenware; factory (Moustiers Sainte-Marie, France); Tin-glazed earthenware; H × W × D: the seventeenth century and the first half of the underglaze; H × diam. (pot): 9.2 × 8 cm (3 ⅝ × 3 ⅛ in.), H × diam. (lid): 3.5 × H × diam.: 18.5 × 21.5 cm (7  × 8  in.); Gift of Eugene V. and Clare E. Thaw, 48.5 × 32 × 27 cm (19 ⅛ × 12 ⅝ × 10 ⅝ in.); Gift of Eugene V. and Clare E. Thaw, 8.5 cm (1 ⅜ × 3 ⅜ in.), H × diam. (overall): 11.5 × 8.5 cm (4 ½ × 3 ⅜ in.); The John 2017-20-8 2017-20-3 eighteenth century. Jay Ide Collection, 1977-52-16-a,b

6 7 As the eighteenth century progressed, a taste for polychrome faience emerged, following a broader trend toward lighthearted and informal styling within the French interior. A new palette of high-firing glaze colors was introduced to Moustiers by Joseph Olérys (1697–1749), who had trained at the Clérissy factory in Moustiers in the 1720s before moving to Alcora, Spain, in 1727. There he worked at the manufactory of the Count of Aranda. In 1738, Olérys returned to Moustiers, where he cofounded a company with his brother-in-law Jean-Baptiste Laugier and popularized a new style of polychrome grotesque ornaments, possibly introducing Fig. 8. Print, Entrée de Monsieur de Macey (Entrance of the Monsieur de Macey), from Le Combat à la Barrière (Combat at the Barrier), 1627; a mustard yellow color to the palette. Designed by Jacques Callot (French, 1592–1635); Etching on off-white laid paper; 15.3 × 22.3 cm (6 × 8 ¾ in.); Museum purchase through gift of Jacob Schiff, 1946-36-6 The so-called grotesque style of decoration developed at the Olérys factory has since become synonymous with the faience industry in Moustiers. The motif is composed of musicians and fanciful figures on staggered terraces, arranged without concern for perspective or narrative. Generally surrounded by flowering vegetation and insects, these figures are grotesque in the common sense of the word, meaning “exaggerated caricatures.” Factory decorators freely adapted printed sources without slavishly copying designs. The lighthearted figures of musicians and dancers that appear on many Moustiers plates (fig. 7) are in the style of the artist Jacques Callot (1592–1635), whose etchings of dancers, musicians, and gobbi (hunchbacks) were widely known. A Callot print in the Cooper Hewitt’s collection (fig. 8) depicts a band of marching musicians whose feathered caps curl jauntily in the wind, a detail echoed by many Olérys figures. On the table, these painted characters served to entertain and delight diners.

Jean-Baptiste Pillement (1728–1808) is another influential print designer whose published works were reproduced throughout Europe. Pillement’s designs Fig. 7. Plate (Moustiers Sainte-Marie, France), ca. 1763; Tin-glazed earthenware; H × diam.: 3.5 × 22.9 cm for the immensely popular book Ladies Amusement: (1 ⅜ in. × 9 in.); Gift of Eugene V. and Clare E. Thaw, 2008-40-2

8 9 Or, The Whole Art of Japanning Made Easy (1760) show figures on floating terraces arranged incidentally across the page (fig. 9). Their composition is strikingly similar to that of the grotesque style at Moustiers. The book’s title page states that the designs “will be found extremely useful to the porcelaine [sic], and other manufacturers depending on design.” The book uses the term “grotesque” to describe the “taste which at present much prevails and seems particularly calculated for this Fig. 9. Plate 3, from The Ladies Amusement: Or, The Whole Art of Japanning Made Easy, 1760; Designed by Jean-Baptiste Pillement (French, 1728–1808); work.” For decorators working in the small mountain town Printed by Golden-Buck (London) for Robert Sayer (English, 1725–1794); Hand-colored engraving on paper; Smithsonian Libraries, Cooper Hewitt, Moustiers Sainte-Marie, printed designs for lacquerwork Smithsonian Design Library, TP942.L15 1760 folio would have been far more accessible than the true article, and their understanding of Asian aesthetics would have been mediated through European designs. Printed in London, then copied and reprinted in France, The Whole Art of Japanning Made Easy contains plates whose blank spaces around figures have been filled with a colorful variety of flying insects—in much the same manner as the Olérys grotesques (fig. 10). A figure on one Olérys plate (fig. 11) carries a banner inscribed with Vive la Paix (“Long live Peace”), a slogan associated with the signing of the Treaty of Paris, an event that marked the conclusion of the Seven Years’ War. A Moustiers faience ewer with this message is dated to 1763, as published in Histoire des faïences patriotiques sous la Révolution.2 This commemoration is slightly ironic, for it was France’s military engagements that prompted Louis XIV’s sumptuary edicts, indirectly stimulating the country’s faience industry. Fig. 12. Chintz border (detail) (India), mid-18th century; Cotton; H × W: 53.3 × 173.7 cm (21 in. × 5 ft. 8 ⅜ in.), Repeat H × W: 53.3 cm (21 in.); Museum The popularity of boldly decorated faience must purchase from Au Panier Fleuri Fund, 1953-205-1 be viewed as part of a broader taste for pattern in eighteenth-century French material culture. At the turn of the century, the country was part of a growing

Fig. 11. Plate (Moustiers Sainte-Marie, France), ca. 1763; Tin-glazed earthenware; H × W × D: 3.5 × 22.5 × 2 Champfleury, Histoire des faïences patriotiques sous la Révolution (Paris: E. 22.7 cm (1 ⅜ × 8 ⅞ × 8  in.); Gift of Eugene V. and Clare E. Thaw, 2008-40-1 Dentu, 1867), 11.

10 11 global economy, with goods supplied by wide-reaching commercial trade networks. French interest in Indian chintz skyrocketed, alongside the trend for Asian-style ceramics. The colorfastness of dyes used in Indian chintz was one of the material’s most desirable properties, just as the high-firing colors of faience were valued for their richness and resistance to fading. Similarly, the pristine white ground of printed cottons Fig. 10. Plate 56, from The Ladies Amusement: Or, The Whole Art of Japanning and the milky whiteness of tin-glazed earthenware Made Easy, 1760; Designed by Jean-Baptiste Pillement (French, 1728–1808); Printed by Golden-Buck (London) for Robert Sayer (English, 1725–1794); Hand- worked together to introduce an unprecedented colored engraving on paper; Smithsonian Libraries, Cooper Hewitt, Smithsonian brightness to the domestic interior. Cotton upholstery Design Library, TP942.L15 1760 folio and patterned faience set the stage for fashionably dressed men and women for whom chintz was the fabric of choice. An Indian cotton of a type specially produced for the European market shows scattered bouquets and flying insects (fig. 12). These motifs frequently appear on Moustiers goods, and together would have formed a cohesive interior aesthetic. The disparity of scale between figures, insects, and plants was a “luxuriance of fancy” admired in Chinese and Indian imports, as described in The Whole Art of Japanning Made Easy. The rules of composition and perspective that dominated

Fig. 13. Textile (France), 18th century; Cotton; H × W: 99.1 × 74.3 cm (39 in. × French academic art did not apply to this new style that 29 ¼ in.); Museum purchase from Au Panier Fleuri Fund, 1959-55-1 operated completely outside established hierarchies of taste. A French textile printed during the country’s ban of Indian cottons (fig. 13) shows repeating bouquets that are similar to the so-called “potato flower” design that was frequently used at Moustiers, and can be seen on a with monochrome yellow decoration (fig. 14).

The Olérys and Laugier factory produced an exceptionally sculptural pair of bulb pots (fig. 15), whose ambitious forms signal the factory’s aim to move beyond painted decorations and into sculptural ornament, following a trend set by Europe’s porcelain factories. It is possible Fig. 14. Tureen with lid and stand (probably Moustiers Sainte-Marie, France or Spain), ca. 1760; Tin-glazed that the core of the form was a clever repurposing of earthenware; H × W × D (a,b,c: overall): 23.5 × 41 × 30 cm (9 ¼ × 16 ⅛ × 11  in.), H × W × D (a: tureen): 38 × 28 cm (14  in. × 11 in.), H × W × D (b: lid): 36 × 26 cm (14  × 10 ¼ in.), H × W × D (c: stand): 39.5 × 30 cm a tureen body. The lid is decorated with flowers in the (15  × 11  in.); Gift of Eugene V. and Clare E. Thaw, 2008-40-7 a/c

12 13 Fig. 15. Pair of bulb pots, ca. 1760; Manufactured by Olérys and Laugier’s pottery factory (Moustiers Sainte- Marie, France); Tin-glazed earthenware; H × W × D, each: 29.2 × 27.5 × 13.8 cm (11 ½ × 10  × 5  in.); Gift of Eugene V. and Clare E. Thaw, 2017-20-5-a,b

14 15 factory’s predominantly yellow and green palette and and white Moustiers-style faience has been recovered is pierced with large and small holes. The width of from colonial sites in northwestern Louisiana in the the central opening is large enough to accommodate United States, along with similarly decorated yellow- the hearty stalk of the sunflower grown in the nearby ground fragments, likely from Marseilles.3 southern regions of France. Bulb pots were a specialty of northern ceramics manufacturers and indicate that Fortunately, other examples of eighteenth-century the Moustiers factories closely followed industry French faience have found their way into the United trends. The asymmetrical flourishes capping the lids States. This exhibition celebrates a collection created are a rare nod to high-style ; typically, the only by the Thaws, donated to the museum to enhance rocaille forms to be found on Moustiers wares are study of this field that they learned so much about painted cartouche surrounds. by forming it. The collection displays significance and rarity of forms, as well as exploration of ornament, An Olérys and Laugier dish with a hunt scene found primarily in the work of the firms Clérissy and represents the evolution of faience in Moustiers (fig. Olérys. This exhibition also presents prints and textiles 16). The central monochrome scene is an example from Cooper Hewitt’s collection similar to those of decorations based on prints by Antonio Tempesta that served as inspiration for some of the ceramics’ (1555–1630), a Florentine artist whose hunting patterns, and which were used alongside these designs were published in series between 1595 wonderful ceramic works, continuing the mission of and 1604. The prints received favorable attention Cooper Hewitt to show the cross-media connections of throughout the seventeenth century and their enduring the collecting areas of the museum. influence is evident in the revival at Moustiers. Beginning around 1720, the Clérissy manufactory at Moustiers drew heavily on these etchings to produce a line of monochrome cobalt faience . In this dish, Olérys is emulating the style of the Clérissy factory for the central scene, but introduces their newly developed polychrome palette for the border garlands. Depictions of aristocratic pursuits such as the hunt were immensely popular within French noble circles. In many regions, hunting was an exclusive privilege and, by referencing the elite activity, faience manufactures could appeal to influential clients. There is evidence that the factories at Moustiers produced styles and forms to serve a range of clientele; blue

Fig. 22. Dish, ca. 1775; Manufactured by Olérys and Laugier’s pottery factory (Moustiers Sainte-Marie, France); Scene in Style of Antonio Tempesta (Italian, 1555–1630); Tin-glazed earthenware; H × diam.: 5.3 × 3 George E. Avery, French Colonial Pottery: An International Conference 30 cm (2  × 11  in.); Gift of Eugene V. and Clare E. Thaw, 2017-20-1 (Natchitoches, LA: Northwestern State University Press, 2007), 416.

16 17 Platter, ca. 1745; Manufactured by Varages Pottery Factory (Provence-Alpes-Côte d'Azur, France); Tin-glazed Plate, ca. 1750; Manufactured by Olérys and Laugier’s pottery factory (Moustiers Sainte-Marie, France); earthenware; H × W × D: 3.5 × 39.5 × 27.5 cm (1 ⅜ × 15  × 10  in.); Gift of Eugene V. and Clare E. Thaw, Possibly decorated by Joseph Fouque (French, active 1739); Tin-glazed earthenware; H × diam.: 3 × 24.8 cm 2017-20-2 (1  × 9 ¾ in.); Gift of Eugene V. and Clare E. Thaw, 2008-40-4

18 19 THAW GIFT OF MOUSTIERS CERAMICS

CHARGER, 1760s–80s; Manufactured PLATE, 1760s; Possibly manufactured INKSTAND, 1760s–70s; Moustiers BOX, 18th–19th century, Moustiers WINEGLASS COOLER-RINSER OR by Olérys and Laugier’s pottery factory by Olérys and Laugier’s pottery factory Sainte-Marie, France; Tin-glazed Sainte-Marie, France; Tin-glazed CONFITURIER (JAM POT), 1739–49; (Moustiers Sainte-Marie, France); (Moustiers Sainte-Marie, France); earthenware; Overall: 7.6 × 10.8 × 11.1 earthenware, metal (mount); H × diam.: Manufactured by Olérys and Laugier's Tin-glazed earthenware; H × diam.: 5 × Tin-glazed earthenware; Overall: 25 cm cm (3 × 4 ¼ × 4 ⅜in.); Gift of Eugene V. 5.1 × 10.2 cm (2 × 4 in.); Gift of Eugene V. pottery factory (Moustiers Sainte-Marie, 39.4 cm (1  × 15 ½ in.); Gift of Eugene (9  in.); Gift of Eugene V. and Clare E. and Clare E. Thaw, 2006-27-9 a/d, Photo and Clare E. Thaw, 2006-27-10 France); Possibly decorated by Jean- V. and Clare E. Thaw, 2006-27-1; Photo Thaw, 2006-27-2 by Andrew Garn François Pelloquin (French); Tin-glazed by Ellen McDermott earthenware; H × diam.: 10.7 × 10 cm (4  × 3  in.); Gift of Eugene V. and Clare E. Thaw, 2006 -27-11

CHARGER, ca. 1770; Possibly DISH, 1760s; Moustiers Sainte-Marie, JARDINIÈRE, ca. 1770; Manufactured PLATE, ca. 1763; Moustiers Sainte- PLATE, ca. 1763; Moustiers Sainte- PLATE, ca. 1750; Manufactured by Olérys manufactured by Olérys and Laugier’s France; Tin-glazed earthenware; H × by Olérys and Laugier’s pottery factory Marie, France; Tin-glazed earthenware; H Marie, France; Tin-glazed earthenware; and Laugier’s pottery factory (Moustiers pottery factory (Moustiers Sainte-Marie, diam.: 2.8 × 22.5 cm (1 ⅛ × 8 ⅞ in.); (Moustiers Sainte-Marie, France); × W × D: 3.5 × 22.5 × 22.7 cm (1 ⅜ × 8 ⅞ H × diam.: 3.5 × 22.9 cm (1 ⅜ in. × 9 in.); Sainte-Marie, France); Decorated by France); Tin-glazed earthenware; Overall: Gift of Eugene V. and Clare E. Thaw, Tin-glazed earthenware; Overall: 12.7 × × 8  in.); Gift of Eugene V. and Clare E. Gift of Eugene V. and Clare E. Thaw, Joseph Fouque (French, active 1739); 6 × 38.7 cm (2 ⅜ × 15 ¼ in.); Gift of 2006-27-4; Photo by Andrew Garn 13.3 cm (5 × 5 ¼ in.); Gift of Eugene V. Thaw, 2008-40-1 2008-40-2 Tin-glazed earthenware; H × diam.: 3.2 × Eugene V. and Clare E. Thaw, 2006-27-3 and Clare E. Thaw, 2006-27-5 25.4 cm (1 ¼ in. × 10 in.); Gift of Eugene V. and Clare E. Thaw, 2008-40-3

BULB POT, ca. 1900; Manufactured by JARDINIÈRE, 1760s; Manufactured by JARDINIÈRE, ca. 1770; Manufactured PLATE, ca. 1750; Manufactured by Olérys TAZZA, ca. 1720; Manufactured by INKSTAND, ca. 1760; Moustiers Sainte- Samson (Paris, France) in 18th-century Olérys and Laugier’s pottery factory by Olérys and Laugier’s pottery factory and Laugier’s pottery factory (Moustiers Clérissy Factory (Moustiers Sainte- Marie, France; Tin-glazed earthenware; style of Olérys and Laugier factory (Moustiers Sainte-Marie, France); (Moustiers Sainte-Marie, France); Sainte-Marie, France); Possibly Marie, France); Style of Jean Bérain the H × W × D: 8 × 16 × 19 cm (3 ⅛ × 6  × (Moustiers Sainte-Marie, France); Tin-glazed earthenware; H × W × D: Tin-glazed earthenware; H × W × D: 14.6 decorated by Joseph Fouque (French, Elder (French, 1640–1711); Tin-glazed 7 ½ in.); Gift of Eugene V. and Clare E. Tin-glazed earthenware; Other: 14 × 24.1 × 8.6 × 14.3 cm (9 ½x 3 ⅜ × 5 ⅝ × 29.2 × 15.9 cm (5 ¾ × 11 ½ × 6 ¼ in.); active 1739); Tin-glazed earthenware; earthenware; H × diam.: 6 × 30.5 cm (2 Thaw, 2008-40-6-a/d; Photo by Ellen 12.7 × 9.5 cm (5 ½ × 5 × 3 ¾ in.); Gift of in.); Gift of Eugene V. and Clare E. Thaw, Gift of Eugene V. and Clare E. Thaw, H × diam.: 3 × 24.8 cm (1  × 9 ¾ in.); ⅜ × 12 in.); Gift of Eugene V. and Clare McDermott Eugene V. and Clare E. Thaw, 2006-27-6 2006-27-7 2006-27-8 Gift of Eugene V. and Clare E. Thaw, E. Thaw, 2008-40-5; Photo by Ellen 2008-40-4 McDermott 20 21 TUREEN WITH LID AND STAND, ca. 1760; CHARGER, 1740–60; Manufactured by JARDINIÈRE OR SAUCE TUREEN, BULB POT, ca. 1760; Manufactured by WINE COOLER (SEAU Â BOUTEILLE), ca. WINE COOLER (SEAU Â BOUTEILLE), ca. Probably Moustiers Sainte-Marie, France Olérys and Laugier’s pottery factory 1760s–80s; Probably manufactured Olérys and Laugier’s pottery factory 1730; Manufactured by Clérissy Factory 1730; Manufactured by Clérissy Factory or Spain; Tin-glazed earthenware; H × W (Moustiers Sainte-Marie, France); by Olérys and Laugier’s pottery factory (Moustiers Sainte-Marie, France); (Moustiers Sainte-Marie, France); (Moustiers Sainte-Marie, France); × D (overall): 23.5 × 41 × 30 cm (9 ¼ × Tin-glazed earthenware; H × diam.: 3.8 × (Moustiers Sainte-Marie, France); Tin-glazed earthenware; H × W × D: 29.2 Tin-glazed earthenware; H × diam.: 18.5 Tin-glazed earthenware; H × diam.: 18.5 16 ⅛ × 11  in.); Gift of Eugene V. and 36.5 cm (1 ½ × 14 ⅜ in.); Gift of Eugene Tin-glazed earthenware; H × W × D: 7 × × 27.5 × 13.8 cm (11 ½ × 10  × 5  × 21.5 cm (7  × 8  in.); Gift of Eugene × 21.5 cm (7  × 8 in.); Gift of Eugene Clare E. Thaw, 2008-40-7-a/c; Photo by V. and Clare E. Thaw, 2008-40-8; Photo 18 × 13 cm (2 ¾ × 7  × 5 ⅛ in.); Gift of in.); Gift of Eugene V. and Clare E. Thaw, V. and Clare E. Thaw, 2017-20-8 V. and Clare E. Thaw, 2017-20-8 Ellen McDermott by Ellen McDermott Eugene V. and Clare E. Thaw, 2008-40-9; 2017-20-5-a,b Photo by Ellen McDermott

SAUCE TUREEN AND LID, 1760s–80s; DISH, ca. 1775; Manufactured by Olérys PLATTER, ca. 1745; Manufactured by PLATE, ca. 1760; France; Tin-glazed PLATE, ca. 1750; Manufactured by JUG, ca. 1750; Manufactured by Olérys France; Tin-glazed earthenware; H × and Laugier’s pottery factory (Moustiers Varages Pottery Factory (Provence- earthenware; H × diam.: 3 × 25.5 cm Olérys and Laugier’s pottery factory and Laugier’s pottery factory (Moustiers W × D: 11.5 × 15 × 11 cm (4 ½ × 5 ⅞ × Sainte-Marie, France); Scene in Style of Alpes-Côte d'Azur, France); Tin-glazed (1  × 10  in.); Gift of Eugene V. and (Moustiers Sainte-Marie, France); Sainte-Marie, France); Tin-glazed 4  in.); Gift of Eugene V. and Clare E. Antonio Tempesta (Italian, 1555–1630); earthenware; H × W × D: 3.5 × 39.5 × Clare E. Thaw, 2017-20-9 Tin-glazed earthenware; H × diam.: 3 × earthenware; pewter mount; H × W × D: Thaw, 2008-40-10-a,b; Photo by Ellen Tin-glazed earthenware; H × diam.: 5.3 × 27.5 cm (1 ⅜ × 15  × 10  in.); Gift of 27 cm (1  × 10 ⅝ in.); Gift of Eugene V. 23.5 × 16 × 12 cm (9 ¼ × 6  × 4 ¾ McDermott 30 cm (2  × 11  in.); Gift of Eugene Eugene V. and Clare E. Thaw, 2017-20-2 and Clare E. Thaw, 2017-20-10 in.); Gift of Eugene V. and Clare E. Thaw, V. and Clare E. Thaw, 2017-20-1 2017-20-11

All photos © Smithsonian Institution. Unless otherwise noted, photos by Matt Flynn. Copyright © 2018 Cooper Hewitt, Smithsonian Design Museum. All rights reserved. Published by Cooper Hewitt, Smithsonian Design Museum. This publication is made possible by the Eugene V. and Clare E. Thaw Charitable Trust. PLATE, ca. 1760; France; Tin-glazed INKSTAND, ca. 1770; Manufactured by URN, ca. 1750; Manufactured by Olérys URN, ca. 1780; Manufactured by Olérys BULB POT, ca. 1760; Manufactured by earthenware; H × diam.: 4 × 28.3 cm Varages Pottery Factory (Provence- Cover background adapted from: Print, and Laugier’s pottery factory (Moustiers and Laugier’s pottery factory (Moustiers Olérys and Laugier’s pottery factory (1  × 11 ⅛ in.); Gift of Eugene V. and Alpes-Côte d'Azur, France); Tin-glazed Design for Grotesque Ornament, ca. Sainte-Marie, France); Tin-glazed Sainte-Marie, France); Tin-glazed (Moustiers Sainte-Marie, France); Clare E. Thaw, 2017-20-12 earthenware; H × W × D: 5.1 × 14 × 12.7 cm 1680; Jean Bérain the Elder (French, earthenware; H × W × D: 48.5 × 32 × earthenware; H × W × D: 50 × 32 × 26 cm Tin-glazed earthenware; H × W × D: 29.2 × (2 × 5 ½ × 5 in.); Gift of Eugene V. and Clare 1640–1711); Etching and engraving on 27 cm (19 ⅛ × 12 ⅝ × 10 ⅝ in.); Gift of (19  × 12 ⅝ × 10 ¼ in.); Gift of Eugene 27.5 × 13.8 cm (11 ½ × 10  × 5  in.); E. Thaw, 2017-20-13 white laid paper; 38.6 × 24.3 cm (15  Eugene V. and Clare E. Thaw, 2017-20-3 V. and Clare E. Thaw, 2017-20-4 Gift of Eugene V. and Clare E. Thaw, 2017- × 9  in.); Bequest of Marian Hague, 20-5-a,b 1971-71-5 22 23 2 E 91ST STREET NEW YORK NY 10128 COOPERHEWITT.ORG

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